This chapter addresses an open problem in visual motion analysis, the estimation of image motion in the vicinity of occlusion boundaries. With a Bayesian formulation, local image motion is explained in terms of multiple, competing, nonlinear models, including models for smooth (translational) motion and for motion boundaries. The generative model for motion boundaries explicitly encodes the orientation of the boundary, the velocities on either side, the motion of the occluding edge over time, and the appearance/disappearance of pixels at the boundary. We formulate the posterior probability distribution over the models and model parameters, conditioned on the image sequence. Approximate inference is achieved with a combination of tools: A Bayesian filter provides for online computation; factored sampling allows us to represent multimodal non-Gaussian distributions and to propagate beliefs with nonlinear dynamics from one time to the next; and mixture models are used to simplify the computation of joint prediction distributions in the Bayesian filter. To efficiently represent such a high-dimensional space, we also initialize samples using the responses of a low-level motion-discontinuity detector. The basic formulation and computational model provide a general probabilistic framework for motion estimation with multiple, nonlinear models.

1999

One of the effects of the PARC Artist In Residence (PAIR) program has been to expose the strong connections between scientists and artists. Both do what they do because they need to do it. They are often called upon to justify their work in order to be allowed to continue to do it. They need to justify it to funders, to sponsoring institutions, corporations, the government, the public. They publish papers, teach workshops, and write grants touting the educational or health benefits of what they do. All of these things are to some extent valid, but the fact of the matter is: artists and scientists do their work because they are driven to do it. They need to explore and create.
This chapter attempts to give a flavor of one multi-way "PAIRing" between performance artist PamelaZ and two PARC researchers, Michael Black and David Levy. The three of us paired up because we found each other interesting. We chose each other. While most artists in the program are paired with a single researcher Pamela jokingly calls herself a bigamist for choosing two PAIR "husbands" with different backgrounds and interests.
There are no "rules" to the PAIR program; no one told us what to do with our time. Despite this we all had a sense that we needed to produce something tangible during Pamela's year-long residency. In fact, Pamela kept extending her residency because she did not feel as though we had actually made anything concrete. The interesting thing was that all along we were having great conversations, some of which Pamela recorded. What we did not see at the time was that it was these conversations between artists and scientists that are at the heart of the PAIR program and that these conversations were changing the way we thought about our own work and the relationships between science and art.
To give these conversations their due, and to allow the reader into our PAIR interactions, we include two of our many conversations in this chapter.

Our goal is to understand the principles of Perception, Action and Learning in autonomous systems that successfully interact with complex environments and to use this understanding to design future systems